With ‘Watching Back,’ Marina Trench steps into a new chapter of her artistic journey – one shaped by instinct, introspection, and a renewed sense of creative freedom. Known for her radiant, soulful approach to house music, she has spent the past years refining her craft on dancefloors around the world, from her long-standing residency at Rex Club to an ever-growing international touring schedule. This EP captures that evolution with striking clarity: it’s warmer, more personal, and more confident, yet still unmistakably hers.

Across four tracks, Marina blends R&B, disco, pop, and classic house influences into a cohesive emotional landscape, one that feels both nostalgic and forward-looking. It’s a project rooted in connection – to her community, to the dancefloor, and to her own inner world. Releasing it on her label Sweet State gives her full creative autonomy, allowing her to present not just music, but a complete artistic statement.

In this conversation, Marina reflects on the emotional space behind ‘Watching Back’ , the memories that shaped it, the collaborations that elevated it, and the sense of freedom that guided its creation. The result is her most refined and resonant work to date – a celebration of craft, intuition, and the joy of making music that truly feels like her.

WWD: Your work is rooted in joy, emotion, and positive energy. How does ‘Watching Back’ deepen or evolve that mission for you as an artist? 

‘Watching Back’ still comes from that same place, but it felt a bit more instinctive this time. I didn’t overthink it, I just followed what felt right in the moment. It’s probably a bit more introspective and personal, without losing that sense of warmth that’s always been part of my music.

WWD: You’ve become known for a soulful, radiant approach to house music. What emotional space were you in when creating this EP? 

When I started working on it, I was coming out of quite a reflective period. It gave me a lot more clarity, but also a strong urge to make music again. I felt the need to look inward and reconnect with what genuinely moves me – and that really shaped the EP.

WWD: The EP feels both nostalgic and modern. What does nostalgia mean to you in the context of contemporary dance music? 

It’s a bit like glancing over your shoulder, smiling, then moving forward. For me, it’s a positive kind of nostalgia, being aware of where things come from, both collectively and personally, without getting stuck there. In dance music, it’s about letting those influences feed into something new, so it keeps evolving rather than repeating itself.

WWD: This EP is described as your most refined and emotionally resonant work yet. What shifted in your creative process to get you there? 

I think it came down to trusting what I already know, both technically and emotionally. I’ve been DJing for a few years now, and over time I’ve built and refined my musical knowledge. I draw on those different influences, but with more trust in my instincts, which gives me a lot more freedom when I’m creating.

WWD: Across the four tracks, you draw from R&B, pop, disco, and soulful house. How did you approach blending these influences into a cohesive world? 

In the past, I probably held back a bit in how I approached my music. This time, I felt much freer and more instinctive. I didn’t try to force the influences in — they came through naturally because I was simply following what felt right, without overthinking it.

WWD: How do you want listeners to feel when they hear Watching Back for the first time? 

I hope it creates a sense of connection, something that feels both familiar and a bit unexpected at the same time. It’s quite a varied EP, so ideally everyone finds a track they connect with in their own way.

WWD: ‘What I Do’ opens the EP with a downtempo, introspective mood. What inspired that hazy, intimate atmosphere? 

It came from a desire to share a more intimate side of my sensibility. It’s not something I usually put forward, but releasing it on my own label gave me the space to do that.

WWD: ‘Get High (If You’re Looking for Love)’ pays tribute to the soulful house of your early DJ years. What memories or dancefloor moments were you channeling? 

It takes me back to when I first discovered house music. I was very young, and it immediately gave me a sense of comfort — being in spaces full of dancing and shared joy. I can still picture nights like Kerri Chandler at the Rex, Tony Humphries at Djoon, or the early Mona parties with Nick V. All of that was over 15 years ago now, but it really shaped how I experience music and the dancefloor.

WWD: ‘Shake Zone’ feat. Yaje brings a modern, disco-infused romance. How did the collaboration with Yaje come together, and what did their vocals unlock for the track? 

For this track, I was looking for a voice that would sit naturally with this fresh, romantic disco instrumental – something with a hint of Madonna or Kylie Minogue in it, ahah. When I met Yaje, it clicked straight away. She’s very professional and versatile, and she sent over a lot of ideas, so it was about refining and shaping things to get as close as possible to what I had in mind. Her voice really brought a human warmth to the track and helped take it to another level, which felt really rewarding.

WWD: Your sound is often described as warm, elegant, and groove-driven. What production choices helped you achieve that richness on this EP? 

I pay close attention to how I feel about what I’m making. I take my time to really listen back and analyse my own material, and if something doesn’t feel authentic or aligned with who I am, I don’t keep it. I also try to step back from it when needed, which helps me stay open and experimental, sometimes starting over until it feels right.

WWD: How do you balance emotional depth with dancefloor functionality when producing? 

I actually find that tension quite interesting. When you’re producing, you’re alone in the studio — it’s entirely your own decisions, almost like a conversation with yourself. DJing is the opposite: it’s about sharing energy and emotion with people on the dancefloor in real time.

For me, those two sides balance each other out naturally. If I spend too much time DJing, I feel the need to go back into the studio and create. And if I stay in the studio for too long, I really miss that direct connection with the dancefloor.

WWD: Were there any new tools, techniques, or studio rituals that shaped the EP?

There was one new approach I used quite a lot on this EP. Whether it was basslines, leads, or chords, even when I was happy with a part, I’d deliberately play it over and over again with different grooves and swing. It was a way of exploring every angle so I wouldn’t have any regrets later on. It also made the process more playful and fun.

I also put a lot of effort into the mix on this one. I spent a good amount of time fine-tuning the different elements and really shaping the overall balance of the sound.

WWD: You’ve been touring constantly while holding a three-year residency at Rex Club. How did the dancefloors you played influence the direction of this EP? 

Lately, I’ve noticed a real appetite for house, disco, and warmer sounds on the dancefloor — it brings a positive energy to the night that people really respond to. In that sense, it felt like a natural direction for the EP.

WWD: Did you test any of these tracks on the road before finalizing them? What reactions stood out? 

I didn’t really test them until I had the masters, as I felt it was important to play the polished versions. I’ve just come back from a tour in Asia and I included a few tracks from the EP in my DJ sets. It was great to see how naturally they landed. The crowd was already reacting as if they knew them. There’s also something quite funny about those moments, because it’s actually the first time you’re playing them, but the audience has no idea – they just connect with it straight away.

WWD: You’ve worked with icons like Gerd Janson and K-Alexi Shelby, and forward-thinking peers like Bàrbara Boeing and Tatyana Jane. How does collaboration feed your artistic growth? 

It’s always a real pleasure to collaborate with artists whose music I genuinely admire. For me, the human connection is what matters most. Everyone brings their generosity, their time, and their own perspective, and that’s really invaluable.

WWD: How does your community influence the emotional world of ‘Watching Back?’
Even though Watching Back is quite personal, it’s still deeply influenced by the people around me. My community, from other DJs to the dancefloors I’ve been playing, constantly feeds into how I understand emotion in music. It’s those shared moments that give meaning to what I create alone in the studio.

WWD: This EP returns to your own label, Sweet State. What does releasing on your own imprint allow you to express that other labels might not? 

There’s a real sense of freedom in releasing music on your own label. From selecting the tracks and artwork to deciding how it’s presented and shared, you have full freedom over the process. It’s a position I really enjoy. I like being involved in all those different aspects and treating it as a complete project.

WWD: How does ‘Watching Back’ reflect the identity or evolution of Sweet State? 

It’s a very polished EP, but it still keeps a sense of freshness while feeling more solid and mature. I think it also reflects where I am with Sweet State and my desire to highlight my position as a woman who writes and produces her music independently, with a real focus on craft.

WWD: With such a strong 2026 ahead – releases, touring, collaborations – what feels like the next chapter for you? 

I see it as a continuation. I want to keep refining my sound, exploring new collaborations, and also continue releasing music on my label. It’s more about building step by step rather than a sudden “next big chapter.”

WWD: Wise words! Thanks for the chat 🙂 

The ‘Watching Back’ EP is available here